The White Raven (1998)

This is a disappointing movie. The story had really interesting premise and despite low budget this could have been a good old - fashioned thriller. Unfortunately, the stupidity of the movie just gets bigger and bigger until the very end. This is a true treasure for anyone who likes to laugh at stupid movies.Do you remember Chuck Norris jokes ? Forget about them . Here in this movie Ron Silver does things that would make James Bond blush. He can run and smoke simultaneously , hide from enemies EVEN IF THEY SAW HIM HIDING , shoots and kicks ass like a pro (despite being a middle aged reporter with NO experience with guns or martial arts) , all sexy females are attracted to him (for no real reason) , the bad guys keep making stupid mistakes, can't shoot straight ... I could go on and on. Oh boy, the plot twist about the location of the diamond and oh boy , the deus ex machina at the end... You have to see them to believe it. I will definitely never forget about them. Yup, they are THAT BAD.The movie has some Polish actors in it and the plot is partially set in Poland. I'm from Poland so for me it was an added bonus ( and of course the main reason to watch this movie in first place). The pacing is fast , the dialogues are often not bad , the music is decent (even if cheesy at times).Ron Silver ("Timecop") gives a "I don't give a crap" performance . He basically doesn't act , only speaks his lines. Roy Scheider ("Jaws") a good actor who somehow ended in B-movies appears here for about 5 minutes , but gives an adequate performance. Same goes for Joanna Pacula ("Gorky park"). Too bad that the sex scene was cut out of the movie. The worst performance belongs to Elizabeth Sheppard who painfully overacts and the best to Jan Rubes who is truly demonic Nazi.This is definitely not a boring movie or the worst movie I have seen. If you want entertainment without quality you might watch it. Otherwise , just skip it. I give it 2/10.

I admit to having found The White Raven a good "little film". A return to the sort of B-list thrillers studios used to churn out on a regular basis. The title refers to an enormous diamond hidden during World War II. The last man to know of its whereabouts (played with barely restrained menace by the imposing Hannes Jaenicke) is in a European prison and is dying. He reveals a vital clue to Tully Windsor, a reporter for the Christian Science Monitor, and Windsor suddenly finds himself the target of several groups competing for possession of the diamond.No, The White Raven definitely wasn't Foreign Correspondent or Ministry of Fear, or even Beach Blanket Bingo. But, thanks to directors Jakub Rucinski and Andrew Stevens, it carried enough nice touches to make at least one viewing a worthwhile pursuit.Chief among these was the late Ron Silver as Tully Windsor. After a career of playing slimy villains, Silver took on a heroic role and made it pay off. His usually sinister features easily metamorphosed into a cool, calculating James Bond-like expression, and he moved from crusading reporter to MAC-10 wielding hero without missing a beat.Silver was one of a small handful of domestically recognizable faces within the cast of the film. Elizabeth Shepherd especially shone as Hannah Rothschild: one of the people hunting for the White Raven. She wore the matronly European power-broker role well, reminding us that she was originally considered for the role of Mrs. Peel in The Avengers.Elsewhere, Roy Scheider practically slept through his role of Silver's boss within the Christian Science Monitor. Along with Scheider there was Doug Lennox as a somewhat stereotypical corrupt American military officer. The remaining cast of The White Raven read like an Eastern European phone directory, which was actually one of the film's major strengths. After years of enduring small films continually set in either New York City or Los Angeles, it was refreshing to encounter new faces and foreign locales. I had mentioned James Bond earlier. In many ways The White Raven stands as sort of a James Bond film with a reduced budget.Back to the cast. I had already mentioned Hannes Jaenicke: playing Hannibal Lector as a WWE wrestler. There was also Jack Recknitz as one of those former Nazi concentration camp guards who miraculously managed to take on a high-level Eastern European law enforcement job after the war. Besides these worthies we also had Joanna Pacula . . . veteran of numerous television and film appearances . . . as a sculptress who becomes involved in the plot (and, subsequently, takes on the role of romantic interest for Silver). She does well, especially since she has to make the audience suspect that Not Everything Is As It Seems Here.Which brings us back to one of the problems of the film. Michael Blodgett's adaptation of his book tends to confuse whoever we're supposed to be rooting for in the course of the picture. It becomes difficult for Silver's character (and by default, the audience) to identify positively with anyone because we're never sure who is with who at any one point. Was Recknitz's character associated with the Paris-based group run by Elizabeth Shepherd? Was Lennox working independently? Was Balboa fond of bananas? Who put the bomp in the bomp-shu-bomp-shu-bomp? Who is John Galt? (The situation isn't helped by the fact that people end up being killed left and right to the point where keeping a scorecard might be handy. You watch the film and almost wish someone would live longer than five minutes simply so that they could deliver some useful information.) And speaking of action, while parts of it did work in the film, others didn't succeed as well. For instance: while I was aware that Silver was the hero of the picture, I felt he managed to escape too easily from many of the tense situations he found himself in. Since he wasn't going up against Imperial Stormtroopers from Star Wars (perhaps the worst shots and stupidest searchers in all of motion pictures), then the average viewer could be forgiven for raising an eyebrow. In one instance Silver manages to escape a group of pursuers through the simple act of hiding in a doorway and standing still . . . which would've worked if he'd been Charlie Chaplin or Buster Keaton, but he wasn't. Rucinski and Stevens did an overall remarkable job with what they had, but what the film needed for such scenes was a director like John McTiernan; someone who has a feel for actually inflicting suffering on a hero and setting up genuine fear for his survival.But the pendulum swings both ways and the film builds nicely in other directions. Especially at the denouement, when the location of the diamond is finally revealed (as well as revealing how a large diamond can be smuggled out of a Nazi concentration camp). As with many other jewels, The White Raven possessed its own unique flaws, but it also managed to occasionally shine brightly.

Okay we got a story lets funk it up the idea is great for a book by for example Graham. We have the plot the diamanté everybody wants it and blah blah we got some great deaths scenes but thats it the story gets blurry from the very beginning (ok we all know the story but the filmmaker tell's it pretty poorly) the possible best scene is the pool scene with the uncles head but a dead man just don't bleed. i suck at writing comments but believe me i had 2 bottles of wine before i watch this movie and it doesn't even get good so get a bottle of hard alcohol before you start this movie. It's a time killer and nothing more

I guess that when starting a movie like "The White Raven", a team has two basic choices. They can make a James Bond type of film in which the hero will keep falling into traps most terrible from which he will miraculously escape with his life and tie undisturbed - which is quite OK because we all know in advance that he is indestructible. Or they can make a realistic movie in which the hero is very much destructible and has to depend solely on his wits and on some more or less sympathetic people to survive - if he does survive at all; we can never be sure.And then there is the third type which tries to combine the first two - which seems to be a sure formula for disaster. "The White Raven" is, of course, just one of many such movies which may start, as this one does, quite decently in the realistic direction and then suddenly turn around, becoming more and more laughable right to the last "deus ex machina" (in this case one of the most stupid I have ever seen).As such, the movie could perhaps be enjoyed as an unintentional parody if it were not for repeatedly ghoulish scenes which make one think that its authors are fetishists of a rather unpleasant sort; and only to their kind can "The White Raven" be safely recommended.